Review Summary: An Israeli progressive death album that fluently explores the overshadowing influence the 70s had on the rather new fusion genre.
Israel’s Asgaut, although under the shadow of the infinitely greater Orphaned Land, are another example of how far reaching metal’s progressive-death rise has become. While taking a page from the book of bands like Opeth, and of course Orphaned Land, Asgaut make sure to keep
Village creative through its juxtaposition of sweeping acoustic passages and death influenced prog-wankery, its subtle yet effective homage to the members’ roots, and its remarkable cohesiveness as an album.
While one can possibly find flaws in the more death inspired sections of the album, it is definitely the acoustic passages and tracks that truly shine on
Village. From the mystical, almost tribal-like traditionally influenced mid-section of the title track, to the sombre melody of ‘Miles of Rain’, Asgaut’s excellent grasp over grandpa’s guitars lends itself to the album’s fluidity. Furthermore, it would be unwise not to mention the profound influence the album’s vocal work has in expanding the melancholic sections, and just the album in general; Mikael Akerfeldt would do well to take heed of ‘Eliran’, whose clean singing emphasizes an incredibly fine line between delicate and powerful. Somewhat akin to Kobi of Orphaned Land’s vocal work, the cleans supplement the album’s character and provide for an intense emotional facet, one which considerably expands Asgaut’s horizons.
It’s actually surprising that the heavier sections are less prominent than the softer ones, but this is not to say that they are any less effective. Eliran’s gutturals are quite throaty, and although having a slight amateurish feel about them, they are rather sparse and don’t take away all that much from the album’s grandeur. The first instance in which they appear, a little way into opener ‘Glance Round Departure’, can possibly leave the listener in doubt, but one merely needs to wait a minute or two before realizing how little it matters. Unexpectedly, the gutturals and higher tones in ‘Between the Secrets’ comes off as quite good, so one can simply pin down this small falter as specific to the song, rather than the harsh vocals in general. Nevertheless, there is a great versatility in the vocals on
Village, keeping it genuinely interesting throughout.
Reflecting the diversity of the vocal work, the album’s interchange between its ‘holy sh
it awesome’ metal, and its more despondent sections, is extraordinarily unified, revealing the band’s obstinate nature in simply being good at what they do. ‘Between the Secrets’, much like its showcase of Eliran’s vocal work, is also a prime example of how the rest of the band weave in and out of moods as if it were as easy as dropping the electric and picking up the acoustic. The track also hints towards Middle-Eastern inspired melodies, simultaneously with a very
Damnation-esque guitar solo, a reverence to the prog bands of the 70s whose influence to bands like Asgaut runs deep. Although beginning with what is a rather sinister mood, closer ‘Bridges... in the Edge of the Hour’ falls into an crystal clean song that feels 30 years out of place, yet is as invigorating as today’s cup of coffee. Finishing off with an elaborate snippet that screams David Gilmour, one can’t help but feel that Asgaut are not a step out of line in their fusion of death metal, progressive rock and their understated nod towards their musical heritage.
Asides from the proggy morsels spread around
Village, the death metal sections work in a superb concurrence with the album’s general stature. Unfortunately, the production renders the heavier sections as a little weak, which isn’t apparent at all in the softer passages, but this merely gives Asgaut more of a chance to show how they aren’t in need of production techniques to convey the brilliance of their music. Both of the longer tracks, ‘Village’ and ‘Between the Secrets’, hold the brunt of the album’s death influence, and even through the fierce brutality that comes out in various moments in these tracks, Asgaut do not drop their guard and fall into any semblance of a monotone that one would associate with death metal. Technically sound, both the death inspired sections and the various ways in which the band moves in and out of them leaves little to be desired.
Village will definitely be overlooked, not only because of its obscurity but also because of the general demeanor many will have regarding its genre. However, to think of Asgaut as merely a clone of Opeth or Orphaned Land and their like would be totally incorrect. Without a doubt, the band has easily made room to stand on their own feet, in a genre where everyone labels everyone else as a clone. It’s not easy to make music as diverse and varied as this, and Asgaut do it better than most. Highly recommended.
. Orphaned Land = Overrated and boring.
